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- SINCE 1946
From our print advertisements in 1946 to our last printed catalog in 2017 here’s the archival database. Future catalogs by internet.
CARVIN™ was founded in 1946 by Lowell Kiesel under the name L.C. Kiesel Company in Los Angeles, CA. Carvin advertised with single sheet promotional adverts.
The 1954 Carvin catalog presents Carvin as a direct-to-consumer maker of electric instruments, amplifiers, and accessories, emphasizing wholesale pricing, money-back guarantees, and professional-grade construction......
The catalog opens with Carvin’s factory-direct sales pitch, then quickly moves into entry-level and professional steel guitar systems pairing instruments with dedicated amplifiers, cases, legs, and instructional material......
The 1956 Carvin catalog represents the company during its post-war expansion period, where the brand had developed a reputation for direct-to-musician sales of professional instruments and electronics.
The catalog presents a diverse product lineup that includes: Guitar amplifiers, Steel guitars, Spanish electric guitars.....
Combining Carvin’s established steel guitar business with a stronger push into solid-body guitars, electric mandolins, electric violin, electric bass, high-fidelity pickups, and more advanced amplifier systems. A major second theme is amplification. Carvin positions its amps as professional-grade tools built around Jensen speakers....
The 1958 Carvin catalog shows a company still rooted in steel guitars but now operating as a broader electric string-instrument maker with a stronger professional identity. The catalog opens with Carvin’s direct-to-customer sales message and immediately moves into six- and eight-string single-neck steels, professional amplifiers....
A major theme is Carvin’s focus on electronics and performance engineering. Repeated selling points include Alnico magnetic pickups, adjustable pole designs, vibrato and tremolo circuits, Jensen speaker systems, precision cast bridges, removable maple necks with truss rods, and tone-changer steel mechanisms....
Carvin promotes higher-power amplifier systems built around Jensen speakers, variable tremolo circuits, and advanced tone controls. Pickup technology is also heavily featured, including AP-series adjustable pole pickups and other magnetic pickup designs aimed at professional tone clarity. This emphasis on electronics illustrates how Carvin was evolving into a complete electric instrument systems manufacturer....
Artist presence is also central in this issue. Joe Maphis, Larry Collins, Billy Mize, Harold Hensley, Pua Almeida, and Billy Hew Len all appear, reinforcing Carvin’s credibility across country, electric guitar, and steel guitar circles. The catalog therefore functions both as a sales piece and as a snapshot of early-1960s electric instrument culture centered on steel guitar tradition, amplified fretted instruments, and mail-order electronics.....
The 1962 Carvin catalog places strong emphasis on the company’s expanding line of professional guitar amplifiers, presenting them as a central part of the Carvin product ecosystem alongside guitars, basses, and steel instruments. By this time Carvin had established a reputation for building powerful, reliable amplifiers designed specifically for the needs of working musicians performing in dance halls, radio studios, and live country music venues....
Amplification is a central pillar of the 1963 catalog. Carvin presents a full line of piggyback (two-piece) amplifiers marketed as a modern, heat-efficient design with transformers and tubes mounted upright. The flagship amplifier lineup includes the Model #12-8CAB (40W, dual Jensen 12" and 8" speakers), the Model #15CAB (40W, 15" Jensen), the Model #28-212 (40W, dual 12" and dual 8" four-speaker system), and the Model #8-12-B combo (30W). All amplifiers feature variable tremolo, dual channels, and optional Hammond organ-built spring reverb units....
A major feature of the 1964 catalog is the Model 10RA Reverberation Amplifier, a high-fidelity amplifier using a genuine Hammond reverb unit integrated directly into the amplifier chassis. The design allowed multiple channels to feed the reverb circuit while maintaining clean signal routing and minimal feedback. This represented a significant step forward in stage amplification, delivering 50 watts of output with less than 1% distortion and peak capability around 75 watts, a substantial power level for early-1960s portable equipment....
The flagship Pro Series amplifiers are presented as all-transistor designs with dual-channel circuits, four input jacks, extended bass and treble controls per channel, and a Rayresistor-based tremolo. Optional Hammond reverb was available as a factory add-on across the entire amplifier line. The Concert Series is a piggy-back (separable head and cabinet) design available in three configurations: the Mark II (one 12" Jensen, 30W constant/60W intermittent), the Mark IV (one 15" Jensen, 60W/120W), and the Mark VII (two 10" Jensens, 60W/120W)....
The 1966 Carvin catalog marks a pivotal transition into solid-state amplification leadership, positioning Carvin as a forward-thinking engineering-driven company. The catalog emphasizes all-transistor amplifier design, highlighting reduced heat, improved reliability, and elimination of output transformers—key differentiators versus tube competitors ....
The Pro Series amplifiers emphasize distortion-free power, thermal efficiency, and elimination of output transformers, resulting in improved transient response and tonal clarity compared to tube designs. This engineering direction aligns Carvin with the emerging “new sound” of the late 1960s.
Speaker systems are equally central, with heavy reliance on Jensen drivers and James B. Lansing (JBL) components, establishing Carvin as a performance-grade loudspeaker integrator....
The 1968 Carvin catalog presents the brand as a factory-direct American maker whose strongest commercial message is high-value professional amplification and loudspeaker performance. The amplifier section is the clearest statement of Carvin’s market position: all-transistor design, high RMS output, clean wide-band response, cooler operation than tube designs, and durable cabinetry built for working musicians....
The 1969 Carvin catalog marks a pivotal moment in the company’s evolution with a clear expansion into complete sound reinforcement. The introduction of the Carvin P.A. System (PA660)—prominently featured early in the amplifier section—signals a decisive move beyond instrument amplification into broader live sound applications. This system positions Carvin as a provider of full-stage solutions for bands, vocal groups, and emerging large-room performance environments, reflecting the growing demands of late-1960s live music....
Carvin’s 1970 catalog reflects a company scaling both its product line and its physical presence. Alongside a lineup built around high-powered solid-state amplification and efficient speaker systems, Carvin marks a significant operational shift with its move from Valley Center to Escondido, California. This relocation signals a step toward greater accessibility and growth, aligning with the company’s expanding reach in professional sound reinforcement and instrument amplification.
A key addition accompanying this move is the introduction of a dedicated Carvin showroom. For the first time, customers are actively invited to visit, plug in, and directly compare Carvin equipment against their own gear. This hands-on approach reinforces Carvin’s confidence in its performance claims—particularly in output power, tonal clarity, and cabinet efficiency—and strengthens its direct-to-musician sales model by removing uncertainty from mail-order purchasing. Showroom Hours (as listed in catalog): Mon-Fri 9:00AM - 4:30PM. Closed Saturday and Sunday....
The product line reflects a company deeply invested in scalable sound systems. Large-format amplifier stacks such as the Super Band Leader, Super Bass Master, and Super Lead Master demonstrate Carvin’s commitment to delivering high RMS output paired with efficient speaker systems, often incorporating Altec Lansing components for maximum acoustic performance. Modular power units (B3000, L4000, P4500) allow musicians to expand output by adding speaker loads, highlighting a forward-thinking approach to system building....
The catalog highlights Carvin’s leadership in solid-state amplification, showcasing advancements such as electronic circuit protection, FET preamps, and high-efficiency heat management. Features like Vari-Tone, Harmonic Sustain, and Hi-Bright controls reflect a deliberate effort to replicate and expand upon tube amplifier characteristics while maintaining reliability.
Public address systems receive significant attention, demonstrating Carvin’s expansion into full-scale sound reinforcement. Systems like the PA7000 and PA8000 illustrate a modular philosophy—expandable speaker arrays paired with high-output power units for scalable coverage....
Amplification in 1973 builds directly on the prior year’s designs but pushes further into higher sustained output and expanded control features. Concepts like Harmonic Sustain and Vari-Tone EQ, present in earlier models, are now more consistently integrated across the lineup and positioned as essential performance tools rather than optional enhancements. There is also a stronger emphasis on reliability under continuous high-power operation, reinforcing Carvin’s engineering claims introduced in 1972 but now validated through broader application and user feedback....
Compared with 1973, the 1974 catalog introduces several notable model and lineup changes. In lead amplification, the 1973 SLM1000 / BL1250 / FR1200 / SM500 family is reorganized and broadened with more clearly defined single- and dual-cabinet “Super” variants such as SLM1000-1, SLM1000-2, SBL1250-1, SBL1250-2, SLP600-1, and SLP600-2, making the step-up path from one enclosure to two much more explicit. The lead section also shows revised cabinet architecture, especially the SR680 replacing the earlier SR660, and the PS900 replacing the earlier PS800, signaling an effort to modernize enclosure tuning and driver combinations while preserving familiar application roles....
Compared to 1974, the 1975 catalog refines and extends several key areas rather than introducing a completely new direction. The structured naming system introduced in 1974—particularly the single vs dual cabinet configurations—remains intact, but 1975 places greater clarity on how these systems integrate into larger PA and stage environments. Power handling descriptions and system pairing guidance are more explicit, making it easier to understand how a musician or group can expand their setup.
In amplification, the Lead Master, Band Leader, and Lead Performer families continue, but with clearer positioning between compact combo formats and full stack systems. The distinction between portable combo amplifiers (like the ML series) and high-output head/cabinet systems is more defined than in 1974, suggesting a stronger effort to guide buyers based on venue size and application....
The 1976 Carvin catalog presents a noticeably expanded and more fully integrated sound-reinforcement program than the 1975 edition. The opening sales page states that the company released 42 new Carvin products and specifically calls out mixers with quad panning, graphic equalizers, rack-mount bi-amped power amps, tube and solid-state guitar amplifiers with graphic equalizers, and the addition of the JBL Professional speaker line. That opening statement sets the tone for the rest of the book: the catalog is centered on controllable power, scalable speaker systems, and mixing architectures designed to move from club use into more ambitious stage applications....
Speaker systems show incremental but meaningful refinement, particularly with the deeper integration of MagnaLab speakers alongside JBL and Electro-Voice components, offering customers tiered performance options within the same system architecture. The addition of JBL professional speaker options across more models represents a notable expansion over 1976.
Another key advancement is the formal introduction and expansion of monitor systems and modular PA configurations, indicating Carvin’s growing focus on live sound environments rather than strictly instrument amplification. Systems are now designed to scale—adding monitors, power amps, or EQ sections as needed—rather than being fixed packages.
Compared to 1976, the 1977 catalog reflects a company transitioning from strong individual product offerings into a more cohesive ecosystem of amplification, speaker systems, and signal control tools, with increased attention to professional stage and sound reinforcement applications....
The 1978 Carvin catalog stays very close to the direction established in 1977, but it presents that direction with more polish and a clearer systems-level structure. The strongest emphasis is on mixers, monitor amplification, horn-loaded loudspeaker systems, and fully packaged reinforcement rigs that scale from compact club setups to concert-format systems. Rather than shifting away from the prior year, 1978 refines it: the catalog opens with the Q1608 quad recording/road board and MX16 expander, placing professional signal control, parametric equalization, routing flexibility, and expandable channel count at the front of the story....
Compared with 1978, the 1979 catalog keeps most of the established mixer and sound-system framework intact, but it shows several notable refinements and additions. The mixer line remains broad with the S1800, S1200, MP1000, SP600, MP600, and MP410, but the catalog spends more time explaining circuitry, balanced differential inputs, special mixer features, and parametric or graphic equalization in a more educational way. That gives the 1979 edition a slightly more technical feel, especially in the mixer section....
The catalog opens with the MX-1202 and MX-1602 consoles. These new MX consoles add five main outputs, optional four 9-band graphics, solo and control-room monitoring, phantom power, talkback....
The X-100 head is described as a full 100 watt RMS amplifier using four 6L6GC power tubes and three 12AX7 preamp tubes, with channel-switching versatility that allows either clean playing or a more saturated tube sustain through a relay-switched preamp structure. Carvin also highlights the new 3-spring Hammond reverb tank.....
Power amplification continues to build on the DCA and DCM platforms, offering flexible stereo and bridged configurations with increased reliability through protection circuitry and modular construction. Loudspeaker systems show continued refinement, with horn-loaded designs, Renkus-Heinz high-frequency components, and multiple enclosure sizes allowing systems to be tailored from compact PA setups to large-format installations such as the Stadium 32 system....
The most visible advancement in 1983 is the expansion and positioning of the MX Series mixing consoles as professional-grade tools for both studio and live applications. The MX1608 introduces expanded routing capability (16 in / 8 out with mix-down functions), reflecting a move toward more complex recording and live production workflows....
The strongest story in this catalog is the way Carvin ties together recording control, stage monitoring, and scalable sound reinforcement. The MX1688 is positioned as a true recording and live-sound control center, the MX1644 broadens that console concept to a more attainable format, and the monitor-system pages show Carvin offering complete stage-monitor packages from smaller 750M-based rigs up through larger 790M-based systems, including packages built around the SXP1202 and MX1644....
The 750/790 monitor section emphasizes intelligibility, practical portability, and packaged monitor-system builds. The 850 and 960 enclosures cover compact and horn-loaded reinforcement roles, while the Pro 980 and R540 radial horn/1330 woofer combinations extend Carvin into larger-venue and long-throw work. By the time the sound-system pages arrive, the catalog is no longer selling single products in isolation; it is presenting matched rigs with known cable sets, shipping structures, options, and upgrade paths.....
The catalog itself identifies the key additions and refinements: a new dedicated Keyboard section, the new 1510 3-way keyboard speaker systems, the new 3000 series tri-amp systems using Electro-Voice speakers and Renkus-Heinz drivers, the CM91E condenser microphone, broader use of Ozite cabinet covering in place of epoxy-style finishes, and new Candy Pearl guitar finishes....
The 1987 Carvin catalog continues the established direction from 1986, maintaining a strong emphasis on complete sound systems built around integrated amplification, speaker systems, and recording solutions. Rather than a major shift, this year refines and expands key product lines with notable updates in pro audio, guitar amplification, and electronics.
The most visible advancement is in recording and sound reinforcement, where the MX1688 platform is expanded with the new MX2488 24-channel console, signaling deeper commitment to multi-track studio and live production environments. Speaker systems evolve with updated 2-way, 3-way, and 4-way configurations, incorporating new horns and higher-powered Electro-Voice drivers, indicating a steady move toward higher output and broader system scalability....
Coming Soon...
The loudspeaker category shows one of the most significant developments from earlier catalogs. A newly introduced Pro Series reflects a shift toward engineered system alignment, incorporating matched components, revised crossover designs, and cabinet construction focused on consistent response and projection. Models such as the 792 and 993 highlight this transition into more refined multi-way systems.
New additions for 1989—including the DJ5000 mixer, SX400 amplifier head, expanded bass enclosures, and updated instrument electronics—demonstrate a response to evolving performance environments, particularly in live sound and dance applications. At the same time, much of the catalog maintains continuity with previous years, reinforcing proven designs while expanding application flexibility....
Compared with the 1989 catalog, 1990 appears less like a reset and more like a refinement and packaging year. An interesting observation is for the first time, Carvin split the 1990 product line up into 3 separate catalogs, Pro Audio, Amplification and Instruments. The strongest visible shift is the arrival of the FX44 Series as the newer mixer family, while the MX22 Series remains available in limited supply rather than disappearing outright. In pro sound, Carvin leans harder into complete system thinking: the new or newly foregrounded packages tie mixers, FET amps, electronic crossovers, and matched loudspeaker systems together in a more explicit system-builder format. The loudspeaker line is also presented with a stronger engineering voice, especially in the Pro Series language around optimized enclosures, new crossover designs, direct-radiating midrange drivers, and computer-aided cabinet design. On the amp side, the SX and X families continue, but the rack-oriented SXR400/SXR900 and bass-rig BRX400/BRX900 packages give 1990 a more modular, professional feel than a simple combo-and-head catalog.
Several important lines continue forward with the same overall architecture, but the current book highlights a handful of meaningful additions and updates. Carson Kiesel’s opening letter points to the new hi-end FX mixers, the FET1000 with 1000 watts bridged at 8 ohms, the exclusive diamond surface grinding process for fingerboards, the new LS175 25 1/2-inch scale guitar, and the continuing strength of the PB500 bi-amp head and rack-based Pro Bass 15 / SX-15 / FET setups. In pro sound, the loudspeaker line carries a stronger engineering story around computer-aided cabinet design, new crossover work, direct-radiating midrange drivers, and matched Pro Series systems. In guitar amplification, the catalog still leans on proven X and SX families, but it also broadens the choices with products like the X50B and rack-oriented systems. Overall, 1991 reads as a catalog that keeps the successful 1990 foundation in place while sharpening several categories with more specialized rack, system, and high-power options....
The 1992 Carvin catalog opens with a strong professional-sound posture, and from the first pages it is clear the company wants to be read through its mixers, power amps, speaker systems, and touring-ready packages before the reader ever gets deep into the instrument section. The new FX3244 extends the FX console line upward into larger studio and auditorium work, while the FET power amp line, monitor systems, Pro Series loudspeakers, and complete packaged sound systems give the book a broad reinforcement backbone. Carvin is not simply listing individual pieces of gear here; it is presenting complete signal chains, from front-end mixing through amplification and loudspeaker delivery, with system matching and factory-direct value positioned as part of the appeal. The loudspeaker pages especially reinforce that message, emphasizing engineered systems, crossover design, computer optimization, bi-amp capability, and higher-current XLR connections as part of a more fully integrated sound-reinforcement identity....
The 1993 Carvin catalog stays close to the broad product shape established in 1992, but it sharpens the presentation around complete sound systems, power amplification, and purpose-built loudspeaker design before moving into guitars, basses, and accessories. The front of the catalog gives the clearest signal of what changed: Carvin calls out the Tube 100 stereo power amp, the Quad X-Preamp (X-4) with MIDI-thru interface, the new 4018 Tri-Amp pro sound speakers, the TL60 vintage-style single-cut guitar, the convertible locking option for the Carvin/Wilkinson tremolo, and steel reinforced necks on all guitars and basses as the headline additions for 1993. That means the year is less a wholesale reset than a focused expansion of rack systems, speaker infrastructure, and refined instrument features built on an already mature 1992 lineup....
Compared with the 1993 catalog, the 1994 edition is broadly similar in its core pro audio backbone, but it introduces several meaningful additions that make this year distinct. The clearest new developments are the DX Series mixers, promoted as a new console family with optional onboard digital effects and MIDI control; the arrival of wireless microphone systems in both non-diversity and true-diversity configurations; and the push into new acoustic/electric guitars, which are called out directly on the cover. In the bass section, Carvin also broadens the Bunny Brunel line with the BB70/BB70F 4-string variants in addition to the established 5-string offerings. So while 1994 does not discard the 1993 formula, it extends it in smart ways: more processed mixer capability, more stage mobility through wireless, and more range on the instrument side....
A major development is the introduction of the Vintage Tube Series, which represents a shift toward fully tube-driven guitar amplification platforms. Models such as the Vintage 33, 112 Nomad, 212 Belair, and Vintage 50 head emphasize pure tube signal paths and tonal dynamics, moving beyond the hybrid or X-Amp-derived designs seen previously.
At the system level, Carvin expands its professional audio capabilities with the XC3000 electronic crossover, enabling more advanced tri-amped and bi-amped configurations. This aligns with the broader system packages shown in the catalog, where mixers, power amps, crossovers, and loudspeakers are presented as integrated solutions rather than standalone products.
The DX mixer series also represents a step forward from 1994, adding built-in DSP processing, increasing functionality for both live sound and recording applications....